‘Glengarry Glen Ross’ review: Kieran Culkin and Bob Odenkirk’s play is bleeping underwhelming

While the iconic line “Coffee is for closers only” is widely associated with David Mamet’s acclaimed work, it’s worth noting that it was actually coined for the film adaptation of “Glengarry Glen Ross” and not originally featured in the stage play itself. Ironically, this current Broadway revival of “Glengarry Glen Ross” at the Palace Theatre could immensely benefit from a jolt of energy and intensity.

A Lukewarm Revival of “Glengarry Glen Ross” on Broadway

This production, marking the fourth time the workplace drama has graced the Broadway stage, premiered on an ironically appropriate evening, feeling akin to a sluggish Monday morning rather than a dynamic theatrical event.

True to Mamet’s signature style, the profanity remains, yet the expected bursts of laughter have been reduced to subdued chuckles, and moments of fiery anger are noticeably restrained.

This narrative, typically a scorching portrayal of morally bankrupt and deceitful Chicago real estate salesmen resorting to criminal acts to secure deals, unfolds with a surprisingly relaxed pace, akin to a casual Friday at home. It’s a decidedly underwhelming rendition of a typically explosive play.

Star-Studded Cast Draws Crowds

The question arises: What fuels the demand for tickets to this rendition of “Glengarry Glen Ross,” especially at its premium price point? Similar to the lukewarm reception of Denzel Washington’s “Othello,” a few blocks away, the main attraction appears to be its impressive ensemble of celebrated actors.

This iteration features the talents of Oscar winner Kieran Culkin, alongside Bob Odenkirk, Bill Burr, and Michael McKean, who don the rumpled suits of these unscrupulous and treacherous characters.

This casting strategy isn’t mere gimmickry. These well-known performers are, in many respects, well-suited to inhabit this gritty world of dubious hustlers, although some embody their assigned roles more convincingly than others.

Culkin, known for his rapid-fire, expletive-laden delivery in “Succession,” seems naturally aligned with Mamet’s dialogue. Odenkirk’s portrayal of morally ambiguous characters, notably Saul Goodman in “Better Call Saul,” adds depth. Burr’s naturally intense persona and McKean’s forte for portraying everyday individuals further enrich the cast.

Venue Mismatch: The Palace Theatre’s Size Problem

Regrettably, the collective efforts of this cast are undermined by a significant misstep: the choice of the Palace Theatre as the venue.

“Glengarry Glen Ross” is not a sprawling, large-canvas production. The first act is composed of three intimate dialogues between pairs of characters, set within a sparsely decorated Chinese eatery.

The subsequent act unfolds in a commonplace office setting, occurring the day after a break-in where critical sales leads—prized information on prospective clients—were pilfered.

Thus, paraphrasing Mamet, one must question the rationale behind staging this production in a theater previously home to grand spectacles like “West Side Story,” “Legally Blonde,” and “SpongeBob Squarepants: The Musical.”

This venue selection proves to be a significant blunder. Any sense of tension dissipates as soon as the curtain ascends. Engaging with the narrative becomes a struggle, even during the typically more dynamic second act.

Regardless of seating location, even from premium vantage points, a palpable disconnect persists, creating a sense of vast distance between the audience and the performers.

Appearing distant, much like gazing at Jersey City from the waterfront, the cast visibly strives to forge a connection and resonate within the cavernous space, working diligently to fill the unforgiving auditorium.

Character Interpretations: Culkin’s Roma and Odenkirk’s Levene

Kieran Culkin, leveraging his talent for rendering cruelty and unpleasantness in an endearing manner, delivers an engaging performance. However, his portrayal of Ricky Roma, the firm’s top closer known for aggressively marketing undesirable Florida land tracts, lacks the inherent alpha-male dominance and predatory intensity typically associated with the role. His Roma comes across as more anxious, eccentric, and erratic—more “Roman” than Roma.

This nuanced interpretation unfortunately diminishes the crucial contrast between Roma and Shelley Levene, the veteran salesman played by Odenkirk, who is grappling with a prolonged slump and a string of unproductive weeks.

Bob Odenkirk, conversely, impeccably captures the palpable desperation and world-weariness of Levene. Even his physical presentation—pallid and lacking vitality—underscores the character’s decline. Despite the ethical ambiguities shared by all characters, Shelley’s plight evokes a sense of empathy.

Supporting Cast Highlights

Bill Burr effectively embodies the role of a loud and scheming character, delivering the expected forceful and aggressive demeanor. Michael McKean, as the bewildered and ineffectual George Aaronow, subtly steals scenes with his poignant, sorrowful expressions.

Missed Potential and Venue Impact

While this production was unlikely to become a definitive rendition of “Glengarry Glen Ross,” it’s plausible that director Patrick Marber’s vision might have been more favorably received in a more intimate theatrical setting, allowing for a greater sense of focus and engagement from the audience.

Alas, we are left to speculate about what could have been. In the fiercely competitive landscape of Broadway real estate, Mamet’s real estate agents inadvertently became casualties themselves.